"If your film earns big bucks, the industry respects you"
Fortunately or unfortunately, our industry is number driven. Once your film earns big bucks, the industry starts respecting you. It lets you do things the way you want to. If you make a good film and if it doesn’t do well at the box-office, then the industry will put you down and compel you to follow their formula. I don’t think a film should be judged in terms of only numbers. I never disregard their importance though. Let’s not forget that numbers also ascertain the number of people who come and watch your film. But apart from that, some respect for talent would be a nice change.
"I don’t take critics seriously"
My major grouse with critics is that they are watching films with the same prism. Especially, in our country with such a diverse audience, it’s not the right way to review films. You can’t judge a Kabul Express and Ek Tha Tiger with similar parameters. I don’t take critics seriously. Except a few, whose reviews I’ve been following for a long time now. The others don’t know what they’re talking about. For ETT you identify with the audience’s reaction and word of mouth. This does not include movie trials. Salman once said, ‘At a trial if a person comes and hugs you, he’s hated the film and is happy that you’ve made a bad film. And if he comes out with his head hung low then he has loved the film and doesn’t know what to do with his next.’
"ETT (Ek Tha Tiger) couldn’t be told in a small way"
Every story demands its own treatment. My earlier films (Kabul Express and New York) were modest in terms of budget and scale. Compared to them, ETT is a humongous monster. It was important for it to do well. I’m happy to have covered a certain spectrum in my body of work. Kabul Express couldn’t have been made on a large scale, New York’s scale was optimum and ETT couldn’t be told in a small way.
"We underplayed Salman’s persona"
People have appreciated the fact that Salman wasn’t larger-than-life in ETT, the way he is in his other films. In ETT he played a larger-than-life character but we underplayed his persona. ETT is relatively real. I’d be stupid to say I was making a realistic film with Salman. For me, it was always a love story. The world of intelligence and terrorism was just a backdrop. Just like New York was always a love story. And Kabul Express wasn’t a story about Afghanistan; it was about how people’s definition of the enemy changes with experience. All my films are about trying to find one’s identity and destroying stereotypes. In ETT, if it wasn’t for the gentleness of the love story, the second half wouldn’t have worked. The audience wouldn’t have sympathised with the couple when they elope. Then it would’ve been an out and out action film.
"Why do people say Salman’s difficult?"
As a filmmaker, I wish to work with all kinds of actors. For ETT, it was a challenge to work with a megastar with a certain image. The challenge was not to reinvent Salman’s on-screen image but to reintroduce him. When we were working on the character, Dabangg had released. Both Adi (Aditya Chopra) and I were convinced Salman would be perfect for the role. I rewrote some portions of the film to give the character Salman’s persona. He was shooting for Bodyguard in Pune then. Now, it’s common knowledge that Salman doesn’t listen to a lambi (long) narration. But once I began, the narration went on for close to eight hours. Not only did he patiently sit through the story but he also wanted to know the backdrop and research. I don’t know why he’s not good with some people and why they say he’s difficult but with me the comfort level was perfect.
"Salman and I had five arguments a day"
How can people make films without arguments? If I don’t have an argument with my actor, I’ll be a troubled man. Either he’s brain dead or he doesn’t give a rat’s a** about the film. Salman and I had at least five arguments a day. While Salman wanted a film for the masses, I wanted it to be somewhat realistic. The film had logic with plot and story. We struck a balance to cater to Salman’s fan base and also the fence-sitters who aren’t really drawn to his films but are looking for exciting viewing.
"I didn’t want my heroine to be just eye candy"
I want strong women characters in my films. I didn’t want my heroine to be like the ones in Salman’s other films — just eye candy. Katrina was in the midst of the action. She’s the one leading the action in most parts. In fact, she’s the one who saves him. I watched the film in Chandan theatre and in the scene when she delivers a kick; the yell that followed was amazing. Someone screamed, ‘Bhai toh action mast karta hai, Bhabhi bhi action first class karti hai!’
"Katrina is the fourth Khan of the industry"
Katrina is one of my closest friends. I’m very fond of her. Some like her and some believe she’s not a good actor. The way she works is unbelievable. I’ve never seen anyone in this industry work so hard. It’s an endearing quality. This does not mean I’ll cast her in every film. If she doesn’t suit the character, I won’t. Maya (New York) and Zoya (ETT) were roles that suited Katrina. Not many actresses would’ve been able to do the kind of action she pulled off in ETT. She’s the fourth Khan of this industry. She’s unbelievably popular. Every single hero she works with has had the biggest opening with her.
"We’re cynical as an audience"
I’ve seen interviews of the aam junta who when they don’t like a particular film, scream into the camera, ‘Phaad denge posters, director ko jail mein daal do’ (we’ll tear the movie posters, put the director in jail). We’re cynical as an audience. Of course, if we love the film we put it on a pedestal. If it’s a hit, you’re God. As for me, I’m an easy audience. In terms of storytelling, I’m easily pleased. Although, there are a few things that put me off. Like politically insensitive things, regressive portrayal of women, irresponsible presentation of the subject of communalism and derogatory humour.
"Mini is my harshest critic"
My wife Mini is so involved with my projects that after a time it gets really difficult for her to disconnect. She’s my harshest critic. Sometimes, she just dismisses my work as rubbish. And it breaks my heart but she’s my best sounding board. Even Adi uses her as a test audience. She’s a perfect balance. She loves commercial cinema without it becoming ridiculous. And she also likes alternative cinema without it going into the esoteric phase.
"My next film will be a larger-than-life love story"
My next film is close to my heart. It is something that I wrote even before Kabul Express. It demands a larger-than-life approach. ETT has given me the positioning and ability to bring together a project of that scale. But love, as always, will be the epicentre of my film.
